For the past five years, I’ve embraced the practice of choosing a word to frame my year. The selection serves as a calling card, a guiding principle to reflect upon and shape my actions and mindset.

My husband suggested tuna. Yes, you heard me—tuna. Lord bless him. He’s cute and a keeper, but tuna? Wanting to be gutted and stuffed in a metal tin is not what I want on 2025’s bingo card.

My previous words have included:

* Bold: A year of stepping out of my comfort zone.

* Happiness: A focus on joy and gratitude.

* Peace: Seeking tranquility and balance.

* Yes: Inspired by Shonda Rhimes’ Year of Yes: How to Dance It Out, Stand in the Sun, and Be Your Own Person, I committed to saying yes to new opportunities and challenges.

Shonda says, “The most important thing you can do is to keep saying yes. Saying yes opened up my life in ways I could never have predicted. It was a powerful force.”

The “yes” opportunities, even those that feel outside our comfort zones, can lead to transformation and success beyond our wildest dreams. I’m a writer. I love wild, unimaginable dreams.

My Year of Yes was 2019. Despite my skepticism and hesitation, I said yes to some things that ended up changing the trajectory of my career. I began dabbling in and studying mystery and suspense, saying yes to writing new genres and new POVs.

I wrote the big book, Island Queen, that I never thought would be contracted or published. The power of yes and being open is unmatched. Could 2025 be a repeat Year of Yes?

Well, yes and no. I’m in a different place—mentally, physically, even spiritually. My faith is strong, but I feel loss so deeply. I can’t put my finger on it, nor is it just one thing—but it’s gone.

Part of that feeling comes from what I witnessed. Last year unveiled sides of humanity I didn’t want to see. People who should be natural allies were torn apart by self-interest or self-hate. The reality of progress, which I once believed to be within reach, now feels like an illusion. We are not our brothers’ or sisters’ keepers—not when eggs are $9.00. Or when I wrongfully believe that helping another living, breathing soul somehow takes from me.

2025, you had me screaming into the void, only for it to suck away the sound. My tears can’t be heard. I need a word that will pull me away from the void—the endless hole called cynicism. I need it to help me rebuild.

I know I’m not alone in this. My closest friends and I still gather to discuss, pray, and believe for something better. Yet, the weariness persists, and I can see myself calling out, “Prayers, prayers, sorrows,” for everything outside my circle.

I need a new word. I take comfort in knowing that finding a word for inspiration is an exercise as old as time.

Historical Timeline of Setting Yearly Intentions

* Babylonian Origins (~2000 BCE): The Babylonians made promises to their gods to do good deeds, seeking favor for the coming year.

* Roman Influence (46 BCE): With the Julian calendar, Romans made resolutions on January 1, with promises of improvement and good moral conduct.

* Peacock Vows (6th–15th Century): In the medieval period, knights participated in the “peacock vow,” an annual pledge to maintain their chivalric code.

* Religious Resolutions (~15th Century): Early Christians were encouraged to reflect on past mistakes and resolve to improve in the new year.

* Modern Secularization (18th Century): Under Protestant influence, resolutions began emphasizing personal accountability and self-improvement.

* The Akan People and Adinkra Symbols (~19th Century–1818): The Akan people of West Africa chose Adinkra symbols to guide them for the year, such as:

* Nkyinkyim (initiative/dynamism)

* Eban (protection/security)

* Victorian Era (19th Century): Making New Year’s resolutions became a widespread practice in Western culture.

* Germany’s Word of the Year (1971): The Gesellschaft für deutsche Sprache (Society for the German Language) selects a “Word of the Year” to reflect social and cultural trends. For 2024, they chose “Ampel-Aus” or “traffic light shutdown,” referencing Germany’s coalition collapse.

* Self-Help Movement (1980s–1990s): Choosing a word at the beginning of the year gained popularity, encouraging focus on a single concept to guide actions.

* Modern Popularity (2000s+): Mindfulness and productivity proponents like Gretchen Rubin (author of The Happiness Project) spread the idea of guiding words over traditional resolutions.

* One Word Movement (2010): The book, One Word That Will Change Your Life by Jon Gordon, Dan Britton, and Jimmy Page, brought global attention to the concept.

So, from a historical perspective—whether inspired by faith, adventure, the need to organize, or focus—we’ve all been searching for a word to help us get our acts together.

It’s still hard. Disappointment and fear make us want to stand still and watch the world burn. In Isaiah 40:31, the text speaks to a desire for the Lord to renew our hope. I want hope. I want to feel it and again soar on wings like eagles. I want to run and not grow weary. I want to laugh and not fear what comes next.

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Meghan Markle, the Duchess of Sussex, says, “The most important thing we can all do for ourselves is leave room for magic.” Like Shonda, Meghan encourages us to remain open to the unexpected, the unknown, and make space for magic. Magic leads to hope, and hope leads to the greatest possibilities.

But hope isn’t my word, 2024 took care of that. Hope is a state of being. To me, it’s not an action. It feels passive and implies waiting. Nobody has time for that.

My Word for 2025

This year, my word is Dare. According to Webster’s dictionary, “dare” means to have the courage to do something or to challenge oneself. I chose this word because it encapsulates my desire to:

* Double-dare myself to face fears and doubts.

* Stretch beyond the boundaries I’ve grown comfortable within.

* Embrace risks that could lead to transformative growth.

Daring Myself to DoAs I step into 2025, I dare myself to flee apathy. I dare myself to let my deeds shine brighter, to be bigger and bolder than ever before. This year, I will embrace more risks, more words, more watching, more praying—all while holding onto hope. At times, I will rest, so I can rise with renewed strength. The fire within me hasn’t been extinguished. It still smolders. It burns for you and for me—for what we could become.

In these uncertain times, with bombings, terrorism, and tariffs on the horizon, I’ve chosen to take control of my personal narrative. Writing about strong women who overcome extraordinary challenges reminds me that I, too, can dare to be bold, dare to be resilient, and dare to be fully myself.

I encourage you to choose your word. Let it be a balm for your soul. Make it your battle cry to achieve something greater—even in moments of disillusionment. I dare you. I double dog dare you to win—for yourself and those you hold dear.

Books Mentioned in this Podcast:

Year of Yes: How to Dance It Out, Stand in the Sun, and Be Your Own Person by Shonda Rhimes

The Happiness Project by Gretchen Rubin

That Will Change Your Life by Jon Gordon, Dan Britton, and Jimmy Page

Island Queen by Vanessa Riley

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

Originally posted 2025-01-07 15:07:16.

This marks the third week I’ve been at a conference or retreat—three weeks of sharing my craft and my conviction that writing can, and does, change the world.

This past week, I had the distinct privilege of speaking at the Jane Austen Society of North America’s Annual General Meeting (AGM) in Baltimore, Maryland. Picture it: nearly 800 devoted Janeites, many dressed in exquisite Regency attire, their hearts united by a love of Austen’s words and worlds. Together, we gathered to celebrate her 250th birthday, to attend lectures by leading Austen scholars, to browse through stalls of clever trinkets and custom editions—and, to my amazement, to hear my thoughts on Austen’s influence on modern storytelling.

I was invited to share my perspective on writing, on adaptations, and the enduring relevance of Jane Austen. As a historical consultant for Hallmark’s 2024 adaptation of Sense and Sensibility, I’ve had the rare opportunity to help bring Austen’s timeless wit and social commentary into our dialogue with today’s audiences. Standing before hundreds of Austen lovers, I found myself reflecting not only on her genius but on how far the literary community—and I—have come.

If you had asked me five, even three, years ago whether I could imagine speaking at JASNA, I would have said no. Those years were turbulent for many organizations grappling with questions of diversity and inclusion—questions about who gets to sit at the table, whose stories are valued, and whose aren’t.

The Romance Writers of America (RWA) suffered a painful implosion and has struggled to regain its footing. The Regency Fiction Writers (formerly The Beau Monde chapter) took a different path, embracing diversity—of membership, of stories, of the Regency itself—and has grown to over 400 members. And now, seeing JASNA’s visible efforts toward inclusion, I feel very hopeful. From what I witnessed this weekend, it seems as though the Society is choosing the right side of history, the one where everyone who loves Jane is welcomed.

When I took the stage in front of more than 700 people, I spoke about my Jane. Not the quaint figure of teacups and curtsies, but a woman aware of her world—a writer who knew not only of tea and indigo, but of war and enslavement. I spoke of the broader Regency landscape, of women like Dorothy Kirwan Thomas, who funded Kensington House a school for mixed-race girls on Marylebone Street in London, and of the Queen of Haiti, whose reign overlapped precisely with the English Regency. Austen’s world, I reminded, was never as small or as whitewashed as it’s often portrayed.

When I spoke of film adaptation, I shared how every detail—from hair and costume to script and set design—was chosen with intention on the Hallmark project. The goal was not to modernize Austen, but to honor her and plausibly expand the visible world, that Jane knew as evidenced by her own inclusion of marginalized characters.

We wanted to tell stories that reflect pride and power without bowing to prejudice. I think Hallmarks succeeded. Yet, when I showed Facebook responses to the announcement of the film and how vile or witless some can be, I told the audience that the power of adaptation is in their hands. How you respond, what you welcome, makes a difference.

On Thursday night, I sat with longtime JASNA members—women who have been part of the Society for ten, twenty, even thirty years. They insisted that the organization wasn’t just a bunch readers in costume; they were true believers in Austen’s ideals: of intelligence, integrity, and independence of thought.

If an organization is to thrive, its reach must be more than cosplay. It must open real seats at the table, and its members must open their hearts and minds, actively creating spaces for everyone to feel welcome.

I am deeply grateful—to the Jane Austen Society of North America for their warmth, their curiosity, and their courage to expand the conversation. This was so much more than an AGM; it was a celebration of Austen’s 250th birthday, and the exhibition of the living, breathing legacy she continues to inspire.

This week’s book list includes:

Jane Austen’s Emma: A Sourcebook edited by Paula Byrne – Read this to see how Austen’s most socially astute novel emerges from the same complex world of class, gender, and perception that still challenges us to write—and adapt—with awareness.

The Making of Jane Austen by Devoney Looser – This lively history reveals how Austen herself has been continually adapted and reimagined, proving that every era.

3. A Guide to Regency Dress: From Corsets and Breeches to Bonnets and Muslins by Hilary Davidson – Essential for understanding the textures and details that bring authenticity to any adaptation.

4. Jane Austen: Visual Encyclopedia by Claire Saim and Gwen Giret – A feast for the eyes and mind, this illustrated compendium shows how Austen’s world continues to inspire art, film, and storytelling.

This week, I’m highlighting Brave and Kind Bookshop through their website and Bookshop.org

The preorder campaign has begun, get your collector cards for Fire Sword and Sea—Help me build momentum for this historical fiction. Please ask your local library to carry this novel. Come on. It’s lady pirates in the 1600s. This saga releases January 13, 2026. The link on my website shows retailers that are in on the campaign. Get the collector cards while supplies last.

You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.

Our stories matter—tap like, hit subscribe, share, and let’s keep this movement alive with Write of Passage.

Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

As a writer, I believe in using words to tell stories. As a reader, I get very excited when a book transports me to the time and place of the novel. I want to feel like I’m there, all while enjoying the safety and comfort of my home, in my favorite chair.

A visual performer does the same thing. Beyoncé Giselle Knowles-Carter is not just a singer—she’s a master of the arts of sound and motion, of textures and hues and imagery.

On Christmas Day, she showcased her unparalleled talent during the Baltimore Ravens and Houston Texans’ playoff game. Writers can draw valuable lessons from Queen B’s performance:

* Craft a Story That Resonates: Create a narrative that connects with your audience on a deep level.

* Layer Your Message: Evoke a range of emotions and sensory delights to keep your audience engaged.

* Use Your Platform: Elevate causes and ideas you care about, using your voice to make a difference.

* Show Up (Period): Deliver with all guns blazing—give your absolute best effort.

Those are the easy takeaways. But this is Beyoncé, after all. She deserves an in-depth analysis.

Subscribe for free. Get Vanessa’s take on publishing, challenges, and opportunities, drawing from her journey as an indie author turned traditionally published powerhouse: 25 novels and counting.

Owning Your 13 Minutes

Fifteen minutes of fame? That’s outdated. In today’s fast-paced world, it’s all about maximizing the 13 minutes you’re given and making them unforgettable. Beyoncé didn’t just perform during the NFL halftime show—she transformed those 13 minutes into a cultural and historical statement that will resonate for decades.

When Beyoncé, riding a Lipizzaner and dressed in white, appeared on Netflix for the World Wide Stage, she wasn’t just performing—she was storytelling. Every writer, including myself, needs to take note. On Christmas Day in the year of our Lord 2025, Beyoncé, one of the most famous people in the world, a cultural icon, and a legendary artist, arrived at NRG Stadium.

Riding in-hand amid an American Requiem—solemn graveyard of stilled Cadillacs, veiled singers bathed in white light, and cowboys standing shoulder to shoulder with rodeo men and women before a plastic-wrapped flag—Beyoncé delivered an iconic, thematic performance. It was the pinnacle of symbolism and storytelling that will forever be remembered as one of the greatest halftime shows in history.

13 Minutes

Thirteen minutes is 780 seconds, countless steps, innumerable costumes, and cameras capturing every angle. Beyoncé took command of Netflix and reminded everyone that she is country—that country music was built on the backs of Black entertainers. She showcased Black cowboys and the rich traditions of Black rodeo culture. If anyone needed a lesson about belonging, she gave one in a defiant celebration of Black identity and pride. The presentation was audacious and bold—a finger in the eye of a genre and spaces that tried to exclude her… exclude us.

The Origins

In 2016, Beyoncé and The Chicks performed “Daddy Lessons” at the Country Music Association (CMA) Awards, only to face backlash questioning her “country credentials.” Despite, or perhaps in spite of, that rejection, Beyoncé began writing, dreaming, and crafting an album—Act II: Cowboy Carter. Her eighth studio album, released on March 29, 2024, via Parkwood Entertainment and Columbia Records, has topped charts in the US and abroad. It’s genius.

Then, the CMA decided to be petty. They didn’t invite her or nominate Beyoncé for any awards at their 58th Annual awards show. The event, hosted in November, drew 6 million live viewers who tuned in to see pretty much the same old guard circle their wagons.

When this was announced, Beyoncé didn’t cry for a performative boycott. I call it a “performative boycott” because some of these actions are feel-good movements that don’t address the real issues, instead offering excuses for reckless voting, buying, or other problematic behaviors. Instead, she built her own stage, crafted her own story, and invited others to celebrate with her at the Beyoncé Bowl—the Christmas Day halftime show. Beyoncé secured 27 million viewers, even more than the football game’s audience. Her unapologetic artistry eclipsed the CMA’s viewership and shortsighted attitudes.

But let’s take a moment to discover the roots of the matter—or why “petty” feels prejudiced.

Black Contributions to Country Music

Black people are not just coming to country music in 2024—we began it.

* Banjo Music, 17th Century: The akonting, the forerunner of the banjo, is a traditional instrument of the Jola people in Senegal, The Gambia, and Guinea-Bissau. Enslaved Africans reconstructed similar instruments for their entertainment and that of their masters.

* Fisk Jubilee Singers, 1871: Introduced spirituals and gospel music that influenced the emotional storytelling we find in country music.

* DeFord Bailey, 1927: The first African American to perform on Nashville radio station WSM’s Grand Ole Opry, known for his harmonica skills and often referred to as a “harmonica wizard.”

* Ray Charles, 1960: His album Modern Sounds became his first to top the Billboard 200, and also made him the first Black musician to be granted artistic control by a mainstream record label.

* Charley Pride, 1966: Outsold Elvis and John Denver for RCA Records. He had 30 No. 1 hits and 52 Top-10 hits on the Billboard Hot Country Songs chart, becoming one of the most successful country artists of all time.

* Linda Martell, 1969: The first Black woman to perform at the Grand Ole Opry.

* Kane Brown, 2018: The first artist to top five US country charts simultaneously.

* Lil Nas X, 2019: Released “Old Town Road,” which sparked debates about the definition of country music. It spent 19 weeks atop the Billboard Hot 100, breaking records.

* Mickey Guyton, 2021: Became the first Black female solo artist nominated for a Grammy in a country category.

* Shaboozey, 2024: His hit “A Bar Song (Tipsy)” tied with “Old Town Road” for the longest-running No. 1 on the Hot 100.

* Beyoncé, February 2024: Her single “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to achieve this milestone.

* Beyoncé, March 2024: Her album Act II: Cowboy Carter became the first by a Black woman to top the Billboard country albums chart since its inception in 1964.

In 2024, with country music’s Black origins, why are we still seeing “firsts”? Upon being given the Innovator Award by iHeart Radio, Beyoncé said, “My hope is that we’re more open to the joy and liberation that comes from enjoying art without preconceived notions.”

13 Minutes of Defiance

Obviously, the roots and Beyoncé’s achievements weren’t enough. Some still say she doesn’t belong in country music. The CMA snub gave all the haters—those less innovative—a moment to gloat. Beyoncé, with 13 minutes, proved you don’t need to be accepted by aged, fearful, or wrong-thinking gatekeepers. She didn’t ask their permission—she reached out and owned the moment. Her performance was an unapologetic declaration of belonging.

Beyoncé’s defiance can be defined in layers:

* Historical nods: Her floral carriage evoked early Juneteenth parades and all white, representing Juneteenth parties of celebration.

* Black excellence: The choreography showcased line dancing, cultural dances, and the inclusion of HBCU bands like Texas Southern’s Ocean of Soul.

* Symbolism: Riding a Lipizzaner horse—a breed born black and turning white with age—served as commentary on the whitewashing of country music’s Black roots. She featured Ja’Dayia Kursh, Arkansas’s first Black rodeo queen, alongside veiled singers referencing the Yoruba Eyo Festival.

* Nods to Houston: Still Tippin’ (2004) played by a violin while showcasing Black cowboys and Black rodeo is a nod to Houston via the song, where “tippin’” refers to being on 4s, wrapped in four Vogues. These are rims on 1994 Cadillacs (slabbin’). It’s also a reference to the Acres Homes area of Houston, Texas—the “fo-fo” comes from the 44 Metro bus that services the community.

Elevating Others

Watching Beyoncé sing with Tanner Adell, Tiera Kennedy, Reyna Roberts, and Brittney Spencer—all beautiful women in white—was mesmerizing.

Blackbird singing in the dead of nightTake these sunken eyes and learn to seeAll your lifeYou were only waiting for this moment to be freeYou were only waiting for this moment to arise.

Beyoncé didn’t just own 13 minutes—she shared it. She gave everyone who rocks with her a moment to arise and be free:

* The Blackbirds Ensemble: Beyoncé’s group of powerful women performed a reimagining of the Beatles’ Blackbird, a song written by Paul McCartney and inspired by the Civil Rights Movement. The harmony and sisterhood were palpable as they sang. I could feel their support as they stood behind her, holding her up as she walked on, head held high, ready to finish the show.

* Small businesses: Latina entrepreneurs behind ASN Hats created her iconic white hat, a piece now featured on billboards and in advertisements worldwide.

* Young artists: Rising country singers shared the stage, including Shaboozey, whose chart-topping country song—snubbed by the CMAs—finally received its moment to shine. Post Malone also joined Beyoncé on stage, grinning and reveling in the energy of the moment.

* Legacy: Beyoncé’s daughter, Blue Ivy, performed beside her, continuing the tradition of Black cultural storytelling for a new generation.

We’re Not in Competition With Ourselves

Island Queen, my first historical fiction novel, recounts the extraordinary true story of Dorothy Kirwan Thomas—a Black woman who purchased her own freedom and that of her family before building a business empire across the West Indies. Released in 2021, it was my 17th or 18th book, yet some hailed it as my first “serious” work. Ah… but that’s a topic for another podcast.

Translated—or soon to be translated—into Italian, Russian, and Hungarian, Island Queen is one of my most widely circulated titles. I still remember the goosebumps coursing through my arms when it was picked as a GMA Buzz Pick. The magical moment of seeing my book on air and T.J. Holmes, George Stephanopoulos, and Robin Roberts discussing Island Queen was thrilling. And when they declared they were “all in” with my characterization of Dorothy as Dolly Parton, Gloria Steinem, and Oprah wrapped in Regency lace; bang, I shot to the moon.

But then came a troubling question. An acquaintance, let’s call her, Devilena, asked, How do you top this, Vanessa? She followed up with—oh the pressure. She could never dream of writing something better.

I must admit, the notion of topping anything left me a little paralyzed. How does one top that? After all, where does one find another powerhouse combination of Dolly, Gloria, Oprah—and lace?

But this is the wrong mindset.

Follow Beyoncé’s lead. For Beyoncé Bowl, she could have sung Crazy in Love, the 2003 hit that launched her solo career. It’s a guaranteed crowd-pleaser. Or she could have drawn from her rich catalog of award-winning, global hits:

* Irreplaceable (2006)

* Single Ladies (2008)

* Halo (2009)

* Love on Top (2011)

* Run the World (2011)

* Partition (2013)

* Drunk in Love (2013)

* Formation (2016)

* Cuff It (2022)

Beyoncé could reach back to her Destiny’s Child days and give us hits like:

* Bills, Bills, Bills (1999)

* Say My Name (1999)

* Survivor (2001)

* Bootylicious (2001)

But she didn’t. She didn’t Coachella us. Instead, she performed songs from her current country album, Act II: Cowboy Carter.

It’s not about topping the past—it’s about sharpening your craft. Beyoncé isn’t resting on her laurels; she’s working every aspect of her artistry. Bang. Here it is. Bang. Here I am.

When I write, I must remember I’m not competing with others—or even myself. My goal is to create the most compelling work I can. At its core, every artist—whether working with audio, written words, or visual media—is in competition against time. Everyone has a finite number of hours to create, share, and leave a legacy.

With Your 13 Minutes

Be like Beyoncé. Focus on the story you want to tell. Make it intentional. Make it bold. Make it better. Make it characteristically yours. Execute. Build your table, invite those who celebrate with you to rock with you. And remember to use your gifts to lift others as you rise. You’re Blackbirds, after all.

All your lifeYou were only waiting for this moment to be free.

Blackbirds—writers, singers, artists—fly.Blackbird, take flight. Be free.

Special thanks to the Thread Beehive Scholars: @thelovelyp @candiceobeauty @latinaspoderosas @jadayiakursh @hellofelicia_murell @underthedesknews @hereswhykevin

And historians: Jon Marc Smith and Katie Kapruch, Texas State University

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

Originally posted 2024-12-31 14:15:00.

I was at the James River Writers Conference this weekend in Richmond, Virginia—one of those places that fills your creative tank. I got to do what I love: hang out with writers. Hungry writers. People on fire to get their words into the world.

And of course, on one of my panels, the inevitable question came up: “What about AI? Are writers going to lose their jobs?”

Now, let me tell you something. If you opened my email inbox right now, you’d find about eight—maybe ten—AI-written marketing emails. Every single one is bad. Cringeworthy bad. Pseudo-personal, stuffed with buzzwords, maybe even a random line pulled from the blurb of Island Queen to make it sound like they actually know me. But give it a few more sentences, and it’s obvious—they don’t. They just tossed my name into a prompt, hit “generate,” and sent it flying into the void.

So I tell authors this: AI might be everywhere. It might be fast. But being everywhere and fast with crap doesn’t win you prizes, and it certainly doesn’t feed the hunger of readers looking for their next great adventure.

AI is supposed to save time—or so the marketing folks keep telling us. But when I spend half my morning clearing these AI-spam messages, I don’t see time saved. I see time stolen.

The emails all sound the same: “I’ve been following your amazing career!” or “I just loved your latest book!” or “I truly believe your book has the potential.” Or “You deserve more reviews.” That all might be true. Then, two lines later, they’re congratulating me on a novel I didn’t even write. One even mixed me up with another author completely.

That’s not artificial intelligence. That’s artificial nonsense.

And here’s what gets me. These marketers aren’t even good at using AI. They feed it bad prompts, copy-paste whatever it spits out, and send it to hundreds of people like me. It’s the new form of spam—shiny, overconfident, and hollow.

At the conference, one of my fellow panelists said something that stuck with me. He said he couldn’t think of a single real-world problem AI has solved. Investors are pouring billions into it, hoping it’ll fix something. But from where I sit, the only thing it’s “solved”—and I’m using air quotes here—is how to steal everyone’s work faster and give marketers another toy to misuse.

Now, don’t get me wrong. I’m not anti-AI. It’s a tool, and tools can be useful when used wisely. But we’ve made it ubiquitous too fast, without guardrails or reflection. And those without our best interests in mind are using it to fleece people.

So, if you get one of those AI-assisted marketing emails in your inbox—mark it as spam. Don’t be fooled by fake flattery. If they’re offering some “exclusive service,” go straight to ChatGPT or Claude or one of the others and ask the same question. You’ll probably get the same result for free—or at least for a much lower monthly payment.

But let’s shift gears—because there’s more hope than fear. At that same conference, I saw what I love most: people learning. People hungry for craft, open to feedback, and ready to chase their dream of writing a book. When writers invest in themselves—show up to workshops, ask hard questions, lean into the fight to say something of value—it gives me hope.

When I hear someone say AI will put authors out of business, I just smile. What we do is too special for that. The dreams we carry, the stories only we can tell—AI can’t imagine them. It can remix what’s already stolen, sure. But it can’t reach into the unseen, the unspoken, the wilder parts of the human heart.

One of my fellow panelists, R. R. Virdi, put it perfectly: AI can only feed on itself. It can only regurgitate what it already knows. That spark of divine imagination—the moment a story idea hits like lightning—that’s still ours. And as long as we keep creating, we’ll always be ahead.

So to the marketers: maybe write your own emails. Try a little authenticity. Readers and customers can tell the difference.

And to my wonderful listeners—the dreamers, the students of the writing craft—I’ve got something exciting coming your way. I’m launching a Kickstarter for The Storycraft Writer’s Journal. It’s a tool I’ve built from years of speaking and teaching on writing—packed with my forms, formulas, and geeky plotting tricks to help you organize research, track writing beats, and create the kind of stories no algorithm could ever predict.

The best way to make sure AI doesn’t take your job is for you to keep writing and keep growing your talent, creating something only you can make.

Oh—and before I continue, reviews are rolling in for Fire Sword and Sea—and people are loving it. If you’re on NetGalley, grab an ARC and take that journey with Jacquotte Delahaye. There’s also a Goodreads giveaway running for twenty copies, but fair warning: I’m missing about thirty-two ARCs that got lost in the mail, so if you find a copy—digital or print hold on to it—that’s pure gold.

As I wrap up, my mandate to you is to not fear AI. Let’s outwrite it. Let’s outdream it. Let’s put our best ideas forward. No matter how many lines a tool can generate, it can’t fake the fire burning in a writer’s soul.

Books to match this week’s theme are:

The Storycraft Journal by Vanessa Riley. It’s more than a notebook or journal—it’s your yearlong writing companion. Designed for busy writers, procrastinators, and dreamers, it’s ready to turn ideas into finished novels. This guided journal blends structure with creativity.

Inside you’ll find:

· Step-by-step guidance through popular story models, including Romancing the Beat and genre-specific beats for RomComs and Romantasy novels.

· Character-building prompts that uncover lies that shape unforgettable protagonists.

· Weekly writing planner: 52 weeks of practical schedules to keep you accountable and consistent—so you can finally finish that book. It up on Kickstarter: https://www.kickstarter.com/projects/vanessariley/

On Writing by Stephen King – A memoir-meets-manual about truth and discipline in storytelling.

Wonderworks: The 25 Most Powerful Inventions in the History of Literature by Angus Fletcher – A fascinating argument that literature is technology for the human brain.

And 3 very different fiction works:

The First Binding by R.R. Virdi is an epic fantasy where Ari, a storyteller with a mysterious past, recounts how he gained—and lost—everything, blending myth, magic, and legend into a sweeping tale of power and consequence.

Watercolored Pearls by Stacy Hawkins Adams is an inspiring story of three women whose intertwined journeys of faith, forgiveness, and self-worth reveal the beauty that can emerge from life’s deepest struggles.

The Monsters We Defy by Leslye Penelope is a spellbinding historical fantasy set in 1920s Washington, D.C., where a daring Black woman with the gift of seeing spirits must outwit both humans and the supernatural to win her freedom.

Take

This week, I’m highlighting Loyalty Bookstore through their website and Bookshop.org

The preorder campaign has begun, get the collector cards for Fire Sword and Sea—Help me build momentum for this historical fiction. Please ask your library to carry this novel and spread the word and preorder this disruptive narrative about lady pirates in the 1600s. This saga releases January 13, 2026. The link on my website shows retailers that are in on the campaign. Get the collector cards while supplies last.

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What does the word “diverse” mean to you when you see it in relation to books and publishing? For some, it is joy. It means being seen. It’s a celebration. For others, it is a tag to “otherize” and foment hate. In publishing, it means a journey fraught with both peril and joy. Today, I’m going to give you a state of affairs. In true fashion, I will present the history of diverse publishing in the U.S., work through some of the issues, and then invite you to be a part of the conversation.

Vanessa Riley standing on her porch being diverse, holding two genres: mystery and romance… with Black people.

Let’s Unpack the Word Itself

“Diverse” is often used in publishing as shorthand for books that feature nonwhite characters, non-Western settings, LGBTQ+ protagonists, or disabled representation. But here’s the thing: diverse only exists in contrast to what’s considered “normal”—a category still largely defined by whiteness, heterosexuality, and able-bodiedness.

The term can unintentionally center whiteness as the default, as seen in publishing practices where diverse books are often marketed as niche or special interest, rather than universal. For example, promotional materials might highlight the diversity of a story as its primary selling point, rather than focusing on its universal themes or compelling narrative, subtly reinforcing the notion that these stories are “different.” Similarly, books featuring nonwhite protagonists are frequently segregated into separate categories, making them less visible to mainstream audiences. When someone says, “This book is so diverse,” what they’re often implying is, “This book is not about the kind of people or places I usually read about.” And if the word diverse causes discomfort, it’s worth asking why. What is it about encountering other perspectives that feels threatening, or so unfamiliar it warrants a disclaimer?

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A Timeline of Diverse Movements in Publishing

The truth is, the push for diverse stories is nothing new. Starting as early as 1965, one can track the movement or small earthquakes that have changed the publishing industry:

* 1965: Formation of the Council on Interracial Books for Children, challenging racist stereotypes in children’s literature and advocating for inclusive stories.

* 1969: Launch of the Coretta Scott King Book Awards, recognizing outstanding African American authors and illustrators.

* 1975–1990s: A handful of authors break through (or are allowed to breakthrough), leaving a lasting impact on readers:

* James Baldwin – The Devil Finds Work (1976)

* Mildred D. Taylor – Roll of Thunder, Hear My Cry (1976)

* Toni Morrison – Song of Solomon (1977)

* Maya Angelou – And Still I Rise (1978)

* Octavia E. Butler – Kindred (1979)

* Lucille Clifton – Two-Headed Woman (1980)

* Audre Lorde – The Cancer Journals (1980)

* bell hooks – Ain’t I a Woman? (1981)

* Angela Davis – Women, Race, & Class (1981)

* Alice Walker – The Color Purple (1982)

* Gloria Naylor – The Women of Brewster Place (1982)

* August Wilson – Fences (1985)

* Virginia Hamilton – The People Could Fly (1985)

* Rita Dove – Thomas and Beulah (1986)

* Walter Mosley – Devil in a Blue Dress (1990)

* Terry McMillan – Waiting to Exhale (1992)

* Eva Rutland – The House Party (1991)

* Beverly Jenkins – Night Song (1994)

* Brenda Jackson – Tonight and Forever (1995)

One of my beloved bookshelves.

* 2000s: The #WeNeedDiverseBooks movement emerges, pushing publishers to examine their rosters. The next remnant of influential writers and works come to the forefront of publishing:

* Edwidge Danticat – The Dew Breaker (2004)

* Chimamanda Ngozi Adichie – Half of a Yellow Sun (2006)

* Toni Morrison – A Mercy (2008)

* Jesmyn Ward – Salvage the Bones (2011)

* Marlon James – A Brief History of Seven Killings (2014)

* Ta-Nehisi Coates — Between the World and Me (2015)

* Colson Whitehead – The Underground Railroad (2016)

* Roxane Gay ( Roxane Gay) – Hunger (2017)

* Angie Thomas – The Hate U Give (2017)

* Michelle Obama – Becoming (2018)

* Ibram X. Kendi – How to Be an Antiracist (2019)

* Brit Bennett – The Vanishing Half (2020)

* 2018: The Cooperative Children’s Book Center reports that books by or about Black, Indigenous, and People of Color make up only 10% of published books. (This has improved but remains a concern.)

* 2020: The murder of George Floyd spurs demand for anti-racism literature. Publishers pledge to diversify catalogs and increase representation in leadership. The #PublishingPaidMe movement highlights disparities in compensation for BIPOC authors.

Present Day

Initiatives like Blackout Bestsellers Week have faded, with sales and visibility campaigns showing diminishing participation. On June 25, 2025, Publishers Weekly headlined: “Layoffs Hit Little, Brown Editorial; Tracy Sherrod, More Depart.” The article states: “With the departure of Sherrod, the trade publishing industry has now seen three high-profile Black women depart from top positions since the big publishers made a public commitment to increase their diversity, equity, and inclusion efforts in the wake of the 2020 murder of George Floyd. Lisa Lucas was dismissed from Pantheon Schocken last month after three years at the imprint, while Dana Canedy left her role as SVP and publisher of the Simon & Schuster imprint in 2022, after two years.”

In August, the New York Times followed up with, “‘A Lot of Us Are Gone’: How the Push to Diversify Publishing Fell Short.” It detailed a system that allows trailblazers to become fatigued, new entrants discouraged, and emphasized the emotional toll of continuously advocating for inclusion in a resistant system.

Why This Matters to Me

Critics argue that many efforts remain performative. A lot of discourse feels performative. I remember a widely circulated screed on illustrated covers, advocating for photography instead. I sat there, quietly eating my lunch, knowing my most widely circulated and bought romance books are with illustrated covers—like A Duke, The Lady, and A Baby. Its sales dwarf my photorealistic covers, which showcase beautiful Black characters instead of race-ambiguous caricatures.

The trade cover of A Duke, The Lady, and A Baby.

I, a Black female writing disruptive stories about the true history of Black women and women of color—of Black folks finding love and dignity within systems that discourage anything but conformity—sometimes feel lost. A recent comment on my 2025 historical romance, A Wager at Midnight, read: “Love the diverse characters in this book. It doesn’t take away the romance or the fun. It actually enriches the romance.”

Say What?

I want to make something clear: reviewing is hard. Putting your thoughts out there, especially in today’s fraught cultural climate, takes guts. I have no intention of criticizing this reviewer personally. In fact, maybe they’re doing a service by signaling to nervous readers that diverse stories won’t accidentally make them “woke.”

A reader made a Funko Pop of Scarlet from a Wager at Midnight. That’s a reader’s excitement for the story.

But comments like these invite a larger conversation about how we perceive books by and about people who exist outside of the dominant narrative. While I deeply appreciate the kind words, the phrasing raises questions: Do readers, particularly white readers, still need reassurance that stories with diverse characters are “safe” to enjoy? Is the word diverse itself triggering? Does it bring hesitation?

Literature is one of the safest ways to explore unfamiliar perspectives. It costs nothing to empathize with characters who look different from you. In fact, it enriches you. Diverse or diversity shouldn’t trigger you. Ask why it does.

Moving Forward

Below are my personal thoughts on how we can reach a point where any book can excite any reader without clauses or pauses:

* Books by authors of color should be marketed as universal stories.

* Readers should challenge themselves to read widely all year, not just in February.

* Reviewers should recognize that their willingness to review, as well as the words they use, are invaluable in shaping narratives about what stories matter.

And if you want to read a “diverse” romance, check out A Wager at Midnight. I promise it’s a terrific read, full stop.

Be A Part of the Conversation

Add your comments and share your experiences. Authors, feel free to contribute your insights as well. I’ve posted a poll on Spotify to explore where readers stand. There’s no judgment—having open discussions is key to moving forward.

This is Vanessa. I’m looking forward to hearing from you!

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

Originally posted 2024-12-24 14:10:00.